Spotify is the new Napster

I was searching for a solution to a small Spotify bug and found this user praise: Spotify is what napster was for ten years ago.

Then another user replied:

how do you mean?

ten years ago Napster was an illegal channel for sharing and downloading music, built p2p.

are you ironic and i missed the punchline?

Fair enough. But still this guy had a point. Spotify is not the same thing as Napster, but another milestone in the Music Industry transformation.

Napster started a revolution. I’m not talking about piracy, I’m talking about spreading the message that the current formats were obsolete and people had different musical needs. The success of the iTunes Store is a good proof of that.

Spotify, as I see it, is the beginning of the end of that revolution. Say goodbye to useless CDs and DVDs. Goodbye to paying for an album with a couple of good songs and crap for filling.

The next logical step would be a Spotify for video.

The only thing I’ve seen coming from the (music and movie) industry in the last 10 years has been the message that piracy was illegal, and immoral, and that it would kill the music and movies. Maybe they have a point, maybe not.

Recently, they’ve been trying to ban download sites in Spain. What then? Without P2P:

  • I can only get movies on theaters (when/where they want) or DVD (how they want). Theaters are expensive (especially if you account for most of the movies not being worth the price) and I just don’t see myself going to a store or having to wait for a DVD to arrive to watch a movie
  • If you want movies in VO, there are little options. Thankfully we have now one cinema playing VO movies in our town, but still not enough
  • If you want TV Shows on VO you have to wait until the DVD comes out. Most of the successful shows are on TV, but delayed for weeks (or even months) and in Spanish

I found a quote yesterday that summed it up pretty well:

“People don’t go out of their way to pirate movies and TV programs; they’re not intrinsically bad people. They do it because often it’s quicker and easier than legitimate means. The quicker the film and TV industries recognise this and make it as easy to buy legal content as it is to download illegitimate content, the more likely they are to stem the flow.”

But I believe if they shut up for a minute and listen, they’d realize there’s people willing to pay, but they are not selling to them.

Fair price

Much has been said about music prices nowadays, I remember reading somewhere that usually the 10 most sold albums in Amazon every week were below $10. That’s not a bad price, but let’s call it sensible pricing.

Sensible pricing is sometimes not enough. Some albums are so good you’d feel confortable paying $20 for them, and some of those $9.99 albums have only one half-good song. I found this 37signals’ article today: Jane Siberry’s “you decide what feels right” pricing detailing how some small record labels are letting consumers (I don’t think that word applies anymore, but still) decide which is the fair price for a CD. At this time, 14% paid above suggested. See it on Sheeba Catalogue

The Canadian folk-pop singer Jane Siberry has a clever system: she has a “pay what you canâ€? policy with her downloadable songs, so fans can download them free — but her site also shows the average price her customers have paid for each track. This subtly creates a community standard, a generalized awareness of how much people think each track is really worth. The result? The average price is as much as $1.30 a track, more than her fans would pay at iTunes

This is not new, magnatune has been doing that for about 4 years. They let you listen the full disc, then download it paying what you consider a fair price

Magnatune pricing

And to help this cool ideas, if you like piano music, let me recommend you Rob Costlow (blog). It’s a great album to stop and relax enjoying the beautiful sound of a piano. And he could be called a piano hacker according to his biography:

By the time he was twelve Rob Costlow was annoying his piano instructor by adding unwritten endings to songs during rehearsals and recitals.